William Maginn

#2

1994

The reanimated man / Mary Shelley -- The mummy / Jane Webb -- The new Frankenstein / William Maginn -- The bell-tower / Herman Melville -- The vivisector / Ronald Ross -- The future Eve / Villiers de l'Isle Adam -- The incubated girl / Fred T. Jane -- The surgeon's experiment / W.C. Morrow -- Some experiments with a head / Dick Donovan -- The new Frankenstein / E.E. Kellett -- The man who made a man / Harle Oren Cummins -- Frankenstein II / Leonard Merrick -- The composite brain / Robert S. Carr -- Demons of the film colony / Theodore LeBerthon -- Frankenstein ; or, The man and the monster! / H.M. Milner -- Frankenstein : the man who made a monster / Garrett Ford and Francis Faragoh -- The bride of Frankenstein / John L. Balderston and William Hurlbut -- The workshop of filthy creation / Robert Muller -- The dead man / Fritz Leiber -- The curse of Frankenstein / Jimmy Sangster (cont.) The reanimator / H.P. Lovecraft -- Transformation / Mary Shelley -- The golem / Gustav Meyrink -- Death of a professor / Michael Hervey -- Frankenstein, Unlimited / H.A. Highstone -- IT / Theodore Sturgeon -- Wednesday's child / William Tenn -- Dial "F" for Frankenstein / Arthur C. Clarke -- The plot is the thing / Robert Bloch -- Fortitude / Kurt Vonnegut, Jr. -- Summertime was nearly over / Brian Aldiss -- At last, the true story of Frankenstein / Harry Harrison.

#3

1901

A miscellany (UK: , US: ) is a collection of various pieces of writing by different authors. Meaning a mixture, medley, or assortment, a miscellany can include pieces on many subjects and in a variety of different forms. In contrast to anthologies, whose aim is to give a selective and canonical view of literature, miscellanies were produced for the entertainment of a contemporary audience and so instead emphasise collectiveness and popularity. Laura Mandell and Rita Raley state: This last distinction is quite often visible in the basic categorical differences between anthologies on the one hand, and all other types of collections on the other, for it is in the one that we read poems of excellence, the "best of English poetry," and it is in the other that we read poems of interest. Out of the differences between a principle of selection (the anthology) and a principle of collection (miscellanies and beauties), then, comes a difference in aesthetic value, which is precisely what is at issue in the debates over the "proper" material for inclusion into the canon.